{"id":527,"date":"2015-04-29T17:27:45","date_gmt":"2015-04-29T15:27:45","guid":{"rendered":"http:\/\/www.artsjournal.com\/jumper\/?p=527"},"modified":"2015-05-22T15:10:27","modified_gmt":"2015-05-22T13:10:27","slug":"approaching-justice-democracy-in-beauty-class","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jumper\/2015\/04\/approaching-justice-democracy-in-beauty-class\/","title":{"rendered":"Approaching Justice &#038; Democracy (in Beauty Class)"},"content":{"rendered":"<p><a href=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/columns.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-535\" src=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/columns-300x151.jpg\" alt=\"columns\" width=\"600\" height=\"301\" srcset=\"https:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/columns-300x151.jpg 300w, https:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/columns.jpg 1000w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a>In <a href=\"http:\/\/www.artsjournal.com\/jumper\/2015\/04\/what-beauty-does-taking-stock-in-week-6-of-the-class\/\">last week&#8217;s post<\/a>\u00c2\u00a0I wrote about a\u00c2\u00a0lecture by <a href=\"http:\/\/howlround.com\/authors\/polly-carl\">Polly Carl<\/a>\u00c2\u00a0on the first half of <a href=\"http:\/\/tannerlectures.utah.edu\/_documents\/a-to-z\/s\/scarry00.pdf\">Elaine Scarry&#8217;s monograph on beauty<\/a>, which focuses on the relationship between beauty and truth.\u00c2\u00a0This week&#8217;s post takes as a starting point Polly&#8217;s lecture on the second half of Scarry&#8217;s book, which\u00c2\u00a0focuses on the relationship between beauty and justice. From there, it explores the importance of beauty in a democratic society.<\/p>\n<p><strong>How beauty presses us toward justice<\/strong><\/p>\n<p>Polly began her lecture by explaining that there are two enduring criticisms of beauty that\u00c2\u00a0Scarry seeks to counter.<\/p>\n<p>(1)\u00c2\u00a0\u00c2\u00a0 The first criticism is that beauty distracts us from social wrongs. Scarry counters with the argument that\u00c2\u00a0seeing something beautiful wakes us up and inspires us to turn our attention to others. She writes (on p. 81) of Plato&#8217;s notion\u00c2\u00a0<em>that we\u00c2\u00a0move from &#8220;eros,&#8221; in which we are seized by the beauty of one person, to &#8220;caritas,&#8221; in which our care is extended to all people.<\/em><\/p>\n<p>(2)\u00c2\u00a0\u00c2\u00a0 The second criticism of beauty is that the viewer&#8217;s gaze is destructive to the object or person.\u00c2\u00a0Scarry counters this\u00c2\u00a0idea with the argument that when we pay attention to\u00c2\u00a0another being,\u00c2\u00a0both viewer and object come alive. She writes (on p. 90), <em>Beauty is, then, a compact, or contract between the beautiful being (a person or thing) and the perceiver. As the beautiful being confers on the perceiver the gift of life, so the perceiver confers on the beautiful being the gift of life.<\/em>\u00c2\u00a0[1]<\/p>\n<p>Scarry also finds\u00c2\u00a0that these two enduring criticisms of beauty are fundamentally contradictory.\u00c2\u00a0The first assumes that if our &#8216;gaze&#8217; could just be shifted away from beauty toward some neglected object our attention would bring the wronged object remedy; the second assumes that sustained attention can never be beneficial\u00c2\u00a0and always brings suffering to the object.<\/p>\n<p>Scarry addresses these two criticisms as the first step in her thesis that:<\/p>\n<blockquote><p>&#8230; beauty, far from contributing to social injustice in either of the two ways it stands accused, or even remaining neutral to injustice as an innocent bystander, actually assists us in the work of addressing injustice &#8230;<\/p><\/blockquote>\n<p>Below is a video of a lecture in which\u00c2\u00a0Scarry outines the\u00c2\u00a0key arguments about beauty and social justice from her book. My points below are drawn from this videotaped\u00c2\u00a0lecture.<\/p>\n<p><iframe loading=\"lazy\" title=\"Elaine Scarry: Beauty and Social Justice\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/GhIOwhIxSEw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Scarry prefaces her talk by noting that beauty and justice share the same synonym\u00e2\u20ac\u201d<em>fairness<\/em>\u00e2\u20ac\u201dand that, etymologically, the word that best describes the opposite of both beauty and justice is <em>injury<\/em>.\u00c2\u00a0Scarry then outlines three sites\u00c2\u00a0in which beauty presses us toward justice.<\/p>\n<p>I. Beauty in the object itself.<\/p>\n<p>The\u00c2\u00a0attributes of the beautiful object have\u00c2\u00a0parallel\u00c2\u00a0attributes in justice. For example, the symmetry in a flower, or a poem, or\u00c2\u00a0Leonardo da Vinci&#8217;s\u00c2\u00a0<em>The Last Supper<\/em>, models\u00c2\u00a0the concept\u00c2\u00a0of justice, which is defined by John Rawls as &#8220;a symmetry of everyone&#8217;s relations to each other.&#8221;<\/p>\n<p><a href=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/last-supper.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-528\" src=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/last-supper-300x114.jpg\" alt=\"last supper\" width=\"600\" height=\"229\" srcset=\"https:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/last-supper-300x114.jpg 300w, https:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/last-supper-750x288.jpg 750w, https:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/last-supper.jpg 756w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/a><\/p>\n<p>II. The immediate response to beauty in the viewer.<\/p>\n<p>In <em>The Sovereignty of Good<\/em> Iris Murdoch&#8217;s asks, &#8220;How can we make ourselves better?&#8221; She answers: In a secular age, <em>beauty<\/em> is the &#8220;most obvious thing in our surroundings&#8221; to help us &#8220;move in the direction of unselfishness, objectivity, and realism.&#8221;[2] Murdoch observes that when a beautiful object hooks our attention it draws us out of our normal state of selfish absorption and shifts our attention to the world around us. She\u00c2\u00a0calls this process\u00c2\u00a0<em>unselfing.\u00c2\u00a0<\/em><\/p>\n<p>Scarry&#8217;s term for this unselfing is <em>opiated adjacency<\/em>, by which she means that beauty reveals to us that we are not the center of the universe, but that the experience of &#8216;sitting on the sidelines&#8217; is pleasurable. Scarry argues that while many things can bring us pleasure and many things can knock us into the margins, beauty may be the only thing that does both. When we\u00c2\u00a0are transfixed by\u00c2\u00a0the beautiful object, it inspires in us\u00c2\u00a0a desire\u00c2\u00a0to locate truth\u00c2\u00a0(discussed in <a href=\"http:\/\/www.artsjournal.com\/jumper\/2015\/04\/what-beauty-does-taking-stock-in-week-6-of-the-class\/\">last week&#8217;s post<\/a>)\u00c2\u00a0and advance justice.<\/p>\n<p>III. In the\u00c2\u00a0aftermath, when beauty gives rise to the act of creation.<\/p>\n<p>This is the idea of <em>replication<\/em> or <em>unceasing begetting<\/em> (also discussed in \u00c2\u00a0<a href=\"http:\/\/www.artsjournal.com\/jumper\/2015\/04\/what-beauty-does-taking-stock-in-week-6-of-the-class\/\">last week&#8217;s post<\/a>). When we see beauty we are drawn\u00c2\u00a0to create more beauty: We write\u00c2\u00a0a poem, take\u00c2\u00a0a photograph, compose\u00c2\u00a0a song, bake\u00c2\u00a0a cake, plant\u00c2\u00a0a garden, draft\u00c2\u00a0a legal treatise, share\u00c2\u00a0a beautiful object with another. This unceasing begetting inevitably leads to the distribution of more beauty in the world.<\/p>\n<p><strong>The importance\u00c2\u00a0of beauty in a democratic society<\/strong><\/p>\n<p>A couple of weeks after Polly&#8217;s lecture\u00c2\u00a0I asked the students to read the first 55 pages (sections I-III) of Claudia Rankine&#8217;s <em><a href=\"https:\/\/www.graywolfpress.org\/books\/citizen\">Citizen: An American Lyric<\/a><\/em>. My aim was to explore the importance\u00c2\u00a0of beauty (in particlar, art and artists) in a democratic society.\u00c2\u00a0As President John F. Kennedy spoke in a 1963 <a href=\"http:\/\/arts.gov\/about\/kennedy\">speech<\/a>\u00c2\u00a0honoring the life of poet Robert Frost:<\/p>\n<blockquote><p>If sometimes our great artists have been the most critical of our society, it is because their sensitivity and their concern for justice, which must motivate any true artist, makes him aware that our Nation falls short of its highest potential. I see little of more importance to the future of our country and our civilization than full recognition of the place of the artist.\u00c2\u00a0&#8230;\u00c2\u00a0Artists are not engineers of the soul. It may be different elsewhere. But democratic society&#8211;in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation.<\/p><\/blockquote>\n<p><a href=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/claudia-rankine.png\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-534\" src=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/claudia-rankine-300x221.png\" alt=\"claudia rankine\" width=\"450\" height=\"331\" srcset=\"https:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/claudia-rankine-300x221.png 300w, https:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/claudia-rankine.png 1000w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\" \/><\/a><\/p>\n<p>In her beautiful book-length poem, interspersed\u00c2\u00a0with images, Claudia Rankine raises our consciousness of\u00c2\u00a0everyday acts of racism. Two of the\u00c2\u00a0sections the students read are, essentially, a\u00c2\u00a0record of injurious remarks that Rankine has\u00c2\u00a0taken in and a recounting of\u00c2\u00a0the anger that has built up\u00c2\u00a0over time in response to these humiliations. She gives testimony to\u00c2\u00a0these everday shocks to the system\u00c2\u00a0as in a diary or logbook: one per page,\u00c2\u00a0page upon page. \u00c2\u00a0Here are two pages:<\/p>\n<blockquote><p>Page 12<\/p>\n<p>Because of your elite status from a year&#8217;s worth of travel, you have already settled into your window seat on United Airlines, when a girl and her mother arrive at your row. The girl, looking over at you, tells her mother, these are our seats, but this is not what I expected. The mother&#8217;s response is barely audible\u00e2\u20ac\u201dI see, she says. I&#8217;ll sit in the middle.<\/p>\n<p>Page 43<\/p>\n<p>When a woman you work with calls you by the name of another woman you work with, it is too much of a clich\u00c3\u00a9 not to laugh out loud with the friend beside you who says, oh no she didn&#8217;t. Still, in the end, who cares? She had a fifty-fifty chance of getting it right.<\/p>\n<p>Yes, and in your mail the apology note appears referring to &#8220;our mistake.&#8221; Apparently your own invisibility is the real problem causing her confusion. This is how the apparatus she propels you into begins to multiply its meaning.<\/p>\n<p>What did you say?<\/p><\/blockquote>\n<p>In addition to exploring the meaning and impact of\u00c2\u00a0particular passages, I prompted discussion among the students with\u00c2\u00a0a number of questions:<\/p>\n<ul>\n<li>What is Rankine&#8217;s goal with this work?<\/li>\n<li>Does it turn you off or draw you in? Why?<\/li>\n<li>Do you recognize this everyday racism she&#8217;s talking about?<\/li>\n<li>How does reading this poem make you feel?<\/li>\n<li>Have you witnessed or experienced or participated in these types of injuries?<\/li>\n<li>Where else and how else do we dehumanize people?<\/li>\n<li>Have you ever felt\u00c2\u00a0injured in this way?<\/li>\n<\/ul>\n<p><strong>Dehumanization explored on a visit to the Chazen Museum of Art<\/strong><\/p>\n<p>The\u00c2\u00a0day we discussed Rankine we also spent an hour at\u00c2\u00a0<a href=\"http:\/\/www.chazen.wisc.edu\/\">Chazen Museum of Art<\/a>\u00c2\u00a0viewing four artworks, selected by the docents. Two were the sculptures\u00c2\u00a0<em>Humiliation by Design<\/em> by Beth Cavener Stichter and\u00c2\u00a0<em>Black Jack<\/em>, by Inigo Manglano-Ovalle.<\/p>\n<div id=\"attachment_529\" style=\"width: 327px\" class=\"wp-caption alignleft\"><a href=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/humiliation-by-design.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-529\" class=\"  wp-image-529\" src=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/humiliation-by-design-253x300.jpg\" alt=\"humiliation by design\" width=\"317\" height=\"342\" \/><\/a><p id=\"caption-attachment-529\" class=\"wp-caption-text\">Beth Cavener Stichter&#8217;s 2009 sculpture, Humiliation by Design.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_530\" style=\"width: 471px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/black-jack.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-530\" class=\"wp-image-530\" src=\"http:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/black-jack-300x255.jpg\" alt=\"black jack\" width=\"461\" height=\"322\" \/><\/a><p id=\"caption-attachment-530\" class=\"wp-caption-text\">Inigo Manglano-Ovalle&#8217;s 2006 sculpture, Black Jack.<\/p><\/div>\n<p>With the docents, we observed the threatening angle and missile-like tip of\u00c2\u00a0<em>Black Jack, <\/em>as well as\u00c2\u00a0the work&#8217;s cold, dark, impenetrable\u00c2\u00a0surface. We interpreted it to be\u00c2\u00a0about asserting\u00c2\u00a0power over another. It brought\u00c2\u00a0to mind notions of\u00c2\u00a0war games and star wars. We also noted that\u00c2\u00a0the large globes of the jack reflect back to the viewer a distorted self image. In contrast, Cavener&#8217;s goat (evidently based on someone she knows, as many of her works are) embodies the state of\u00c2\u00a0being systematically disgraced, shamed, tortured, or disempowered by another. We were at first repelled by and then drawn into this sculpture. The students were invited to spend more time with the work they found most interesting. A majority decided\u00c2\u00a0to revisit the goat sculpture.<\/p>\n<p>After the Chazen visit, sculptor <a href=\"http:\/\/art.wisc.edu\/art\/people\/faculty-staff\/ceramics-glass-metals-sculpture-wood-faculty\/paul-sacaridiz\">Paul Sacaridiz<\/a>\u00c2\u00a0(who is currently\u00c2\u00a0chair of the Art Department at UW-Madison) talked about his work and process (more on that\u00c2\u00a0in another post); however, he also took a few moments at the top of his talk to speak\u00c2\u00a0to the importance of beauty (and, in particular, artists and art) in a democratic society. He commented to the students, &#8220;As graduates of a university, you have an obligation to look at the world critically and to question things. [&#8230;] Art is a way of understanding the world; and there is no better way of comprehending\u00c2\u00a0things that are ambiguous or contradictory or complex than by going to see art. [&#8230;]\u00c2\u00a0If you spend time with art you begin to develop this understanding.&#8221;<\/p>\n<p><strong>Portfolio Assignment:\u00c2\u00a0Injury Documented<\/strong><\/p>\n<p>While the students&#8217; portfolios are intended primarily as catalogues of their experiences of the beautiful, in week 8 I gave them the exercise: C<em>reatively document a way in which you see people being dehumanized in your world (small world or big world).\u00c2\u00a0<\/em>Many\u00c2\u00a0documented ways in which the\u00c2\u00a0homeless, the physically different, those with mental illness, the LGBT community, and\u00c2\u00a0ethnic minorities are routinely dehumanized. A few\u00c2\u00a0also captured the everyday harms we inflict upon\u00c2\u00a0each other in our day-to-day social interactions on social media and in person. A good example of the latter is this\u00c2\u00a0poem by student, Michelle Croak. I end this post by sharing it with you.<\/p>\n<blockquote><p>It is saying &#8220;Hello!&#8221; on the street<br \/>\nand a negative thing behind closed doors.<br \/>\nIt is asking your roommate how their day was<br \/>\nand checking your email while they answer.<br \/>\nIt is telling someone you are SO sorry<br \/>\nand feeling nothing but regret for saying the &#8220;S word.&#8221;<br \/>\nWhat is it?<\/p>\n<p>It is telling someone &#8220;We should catch up!&#8221;<br \/>\nwithout following up.<br \/>\nIt is saying &#8220;I love you&#8221;<br \/>\nwithout action to back it up.<br \/>\nIt is offering to cover someone&#8217;s portion of the check<br \/>\nwithout bringing out your credit card.<br \/>\nWhat is it?<\/p>\n<p>It is unconditional love<br \/>\nbut including all the conditions.<br \/>\nIt is being Facebook Official<br \/>\nbut refusing to hold hands around others.<br \/>\nIt is saying everyone is equal<br \/>\nbut not including everyone.<br \/>\nWhat is it?<\/p>\n<p>What is it?<br \/>\n<em>Dishonest. Insincere. Artificial. Untruthful. Disingenuous. <\/em><br \/>\n<em>Dehumanizing.<\/em><br \/>\nDo we need a single word, a single phrase for all of these actions?<br \/>\nDo you see yourself in them? Do you see others?<br \/>\nHave you witnessed them and said nothing?<br \/>\nThen the next time I ask you, &#8220;What is it?&#8221;<br \/>\nYou only need one word to answer.<br \/>\nMe.<\/p><\/blockquote>\n<p>***<\/p>\n<p>[1] While not referenced by Scarry, for more on this notion\u00c2\u00a0I recommend the recent <em>New York Times<\/em> article,\u00c2\u00a0<a href=\"http:\/\/opinionator.blogs.nytimes.com\/2015\/03\/30\/heideggers-philosophy-why-our-presence-matters\/?_r=2\">Being There: Heidegger and Why Our Presence Matters<\/a>.<em>\u00c2\u00a0<\/em>Hat tip to my friend, Greg Conniff, for drawing this article to my attention.<\/p>\n<p>[2]\u00c2\u00a0Murdoch, I. (1991). <em>The sovereignty of good<\/em>. London: Routledge. As cited in Winston 2006, p. 285.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In last week&#8217;s post\u00c2\u00a0I wrote about a\u00c2\u00a0lecture by Polly Carl\u00c2\u00a0on the first half of Elaine Scarry&#8217;s monograph on beauty, which focuses on the relationship between beauty and truth.\u00c2\u00a0This week&#8217;s post takes as a starting point Polly&#8217;s lecture on the second half of Scarry&#8217;s book, which\u00c2\u00a0focuses on the relationship between beauty and justice. From there, it [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":535,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[30],"tags":[],"class_list":{"0":"post-527","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-beauty","8":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jumper\/wp-content\/uploads\/2015\/04\/columns.jpg","jetpack_shortlink":"https:\/\/wp.me\/p15Pqw-8v","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/posts\/527","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/comments?post=527"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/posts\/527\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/media\/535"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/media?parent=527"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/categories?post=527"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jumper\/wp-json\/wp\/v2\/tags?post=527"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}